Sergei Rachmaninoff
Composer: born April 1, 1873, Oneg, Russia; died March 28, 1943, Beverly Hills, CA Work composed: the summer and autumn of 1940. The published score bears the inscription: “Dedicated to Eugene Ormandy and The Philadelphia Orchestra.” World premiere: Eugene Ormandy led the Philadelphia Orchestra on January 3, 1941 Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, cymbals, drum, orchestra bells, tam-tam, tambourine, triangle, xylophone, piano, harp, and strings Estimated duration: 35 minutes |
Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full rich sound Ormandy and his musicians produced. Sometime during the 1930s, Rachmaninoff remarked that he always had the unique sound of this ensemble in his head while he was composing orchestral music: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.” When Rachmaninoff began working on the Symphonic Dances, he wrote with Ormandy and the orchestra in mind. Several of Rachmaninoff’s other orchestral works, including the Rhapsody on a Theme of Paganini and the Piano Concerto No. 4, were also either written for or first performed by Ormandy and the Philadelphia Orchestra.
The Symphonic Dances turned out to be Rachmaninoff’s final composition. Although not as well-known as the piano concertos or the Rhapsody on a Theme of Paganini, Rachmaninoff himself and many others regard the Symphonic Dances as his greatest orchestral work. “I don’t know how it happened,” the composer remarked. “It must have been my last spark.”
Nervous pulsing violins open the Allegro, over which the winds mutter a descending minor triad (three-note chord). The strings set a quickstep tempo, while the opening triad becomes both the melodic and harmonic foundation of the movement as it is repeated, reversed and otherwise developed. The introspective middle section features the first substantial melody, sounded by a distinctively melancholy alto saxophone. The Allegro concludes with a return of the agitated quickstep and fluttering triad.
Muted trumpets and pizzicato strings open the Andante con moto with a lopsided stuttering waltz, followed by a subdued violin solo. This main theme has none of the Viennese lightness of a Strauss waltz; its haunting, ghostly quality borders on the macabre suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse. Rachmaninoff’s waltz is periodically interrupted by sinister blasts from the brasses.
In the Lento assai: Allegro vivace, Rachmaninoff borrows the melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had used this iconic melody many times before, most notably in Isle of the Dead and the Rhapsody on a Theme of Paganini. In the Symphonic Dances, the distinctive descending line has even more suggestive power; we can hear it as Rachmaninoff’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and employs all the orchestra’s sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including the song “Blagosloven Yesi, Gospodi,” describing Christ’s resurrection, from Rachmaninoff's choral masterpiece, All-Night Vigil.
On the final page of the Symphonic Dances manuscript, Rachmaninoff wrote, “I thank Thee, Lord!”
© Elizabeth Schwartz
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